Roving Pittsburgher Report - My Favorite PSO Concert!!! Review of PSO's Vivaldi's Four Seasons, Mozart, and Haydn Concert, June 1st 2014 Performance

My Favorite PSO Concert!!!
Review of PSO's Vivaldi's Four Seasons, Mozart, and Haydn Concert, June 1st 2014 Performance
From:  Roving Pittsburgher Report and PositivePittsburghLiveMagazine.com
Written By:  Stephanie Curtice  |  June 02, 2014

I’ll lead this review off with the tweet that I sent right after the Pittsburgh Symphony Orchestra’s Sunday, June 1st 2014 performance.  “Today was my favorite @phgsymphony concert of the season!  3 great pieces. Ye-Eun Choi was stunning. Loved Loved Loved Nicholas McGegan!”  And, that pretty much sums it up.  In my first PSO concert and review on Jan. 17, 2014 I wrote, “Now of course, I should let on that I’m partial to this era of music and the one before it.  So in my opinion Franz Joseph Haydn and his contemporaries of the first Viennese School hit that sweet spot.”  So you can imagine my excitement about this concert.  Vivaldi, Mozart, AND Haydn, it was like Christmas morning at the symphony.

Ye-Eun Choi

The concert began with Vivaldi’s Four Seasons and got better and better with each concerto.  Violinist, Ye-Eun Choi making her PSO debut played beautifully.  She showcased both energetic virtuosity and lovely lyric lines full of passion.  She is very young and demonstrates the technical capabilities and musicianship that will develop even more with time like a fine wine.  By the middle movement of Autumn the entire ensemble settled into a groove with smiles and acknowledgements to each other that capture the essence and intimacy of chamber music.  The music was gorgeous and full of energy, but it is taken to a whole other level when you can observe sincere enjoyment of the players.  It was fun to listen to and watch – Baroque music is fun and makes you want to dance, not like the electric slide, but you know a Gavotte, Minuet or Chaconne!

Nicholas McGegan

The concert was lead by world-renowned conductor Nicholas McGegan, and for the Vivaldi he did so from the console of the harpsichord.  It was a treat to see the work not only played beautifully but also in this configuration that would more than likely have been how it was performed back in 1725.  The only unfortunate thing was that the big, beautiful Heinz Hall kind of swallowed up the harpsichord.  McGegan evoked both the lush swells of passion-filled themes and clean precision, full of energy, from the small ensemble.  More impressive was his ability to quickly lead the shifts from one style to the other at the manic changes characteristic of Baroque music.

The second half of the concert began with a fun and stately Mozart ditty, Chaconne from Idomeneo, Re di Creta.  It showcased several contrasting sections that were each played with due flair.  The featuring of the woodwinds was really quite lovely.  The concert was capped off with Haydn’s Symphony #103 in E-flat major and was great.  Beginning with its nickname “Drumroll,” the work featured a neat timpani part and great wind passages.  A standout was the violin solo in the second movement by concertmaster Noah Bendix-Balgley.  I love hearing and watching him play; he makes it look and sound so easy.

Did I say I love this style of music?  It makes me feel like Agnes from Despicable Me when she expresses her excitement about the stuffed unicorn, “It’s so fluffy.”  It’s just so fun!  The music was expressive and energetic.  I would imagine the rehearsals were fun and productive, and I would have paid to see them too with McGegan’s commentary.  The PSO rocked it (Baroque and Classical style – you could say they barocked it) and I absolutely LOVED watching Nicholas McGegan conduct!

By:  Stephanie Sue Curtice

Good News and Cultural Reporter
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Roving Pittsburgher Report - What's Up Doc: Review of the PSO's Bugs Bunny at the Symphony II Performance April 12th 2014

What’s Up Doc?
Review of the Pittsburgh Symphony Orchestra's Bugs Bunny at the Symphony II Performance April 12th 2014
From: Roving Pittsburgher Report and PositivePittsburghLiveMagazine.com
Written By: JoAnn R. Forrester, Host of Empress of Biz  |  April 13, 2014

Saturday night April 12, was FUN! It was a night of wonderful music with lots and lots of laughs and giggles from the usually pretty serious classical music crowd. We were treated to a multi-media experience of What’s Up Doc, “Bugs Bunny “ cartoons, witty dialogue and great music by the Pittsburgh Symphony Orchestra very ably led by guest conductor and co-creator of the Bugs Bunny at the Symphony II, George Daugherty.

George Daugherty brings an impressive resume to the Pittsburgh symphony. He is one of the classical music

world’s most diverse artists. His 3- year conducting career has included appearances with the world’s leading orchestras, ballet companies, opera houses and concert artists. He is also an Emmy Award winning creator and along with his producing partner David Ka Lik Wong created The Bugs Bunny Symphony tradition. He was a delightful host. His dialogue with the audience on the background of the music and cartoons was informative with a whimsical touch. A thoroughly charming man.

One of the things I did not realize, much of the music in cartoons was based on many of the classical composers such as, J. Strauss II, Wagner, Rossini, von Suppe’, Smetana, Liszt. Reading the credits from the cartoon was like a trip back in time, Jonny Mercer, William Hanna and Joseph Barbera, Chuck Jones, and Mel Balanc, the great voice of Warner Bros Cartoon. And of course the lovable wacky cartoon characters of Elmer Fudd, Daffy Duck, Porky Pig, Wile E Coyote, Tweety (I Tawt I Ta A Puddy Cat) Bird, Pepe Le Pew and the Penelope Pussy Cat were funny as ever.

George Daugherty

As the music and cartoons play I was flooded with memories of my childhood. A time when I went to the movies and was enthralled by an afternoon of cartoons and cowboy/ space invader monster/Tarzan of the Jungle. It was a simpler and less stressful time; NO cell phones, texting, and NO parents hovering over you, urging you to hurry, to rush from one activity to another. It was a time when I could walk to the local neighborhood show with friends. Go to a shopping district, that were alive and vibrant and filled with friendly people walking on sidewalks, and stopping in their favorite ice cream store, shoe store, grocery store, ladies dress store and buying what they needed. Back then, my neighborhood gave me a feeling of identity and security. If you lived in one of them you know what I mean. Today’s suburban sprawl with our mega shopping centers, frantic pace and a life built around the automobile racing from one event to another has taken a lot of that sense of belonging away.

In conclusion the night was delightful fun for young to old. All delighted by the antics on screen and being charmed by the music and conductor on stage… a delightful evening… and a secret trip back in time when it was all simpler.

Additional Performances:
Sunday, April 13th  |  2:30 PM  |  Heinz Hall

JoAnn R. Forrester

Written By: JoAnn R. Forrester
Host of Empress of Biz
Anchor Internet Radio Show on PositivelyPittsburghLiveMagazine.com

JoAnn R. Forrester is co-host of the Empress of Biz Talkcast and co-founder, president and partner in S. I. Business Associates, Small Business Solutions, LLC and Celebrate and Share. She is an entrepreneur, writer, business growth specialist, teacher, columnist and award winning writer. JoAnn specializes in helping small businesses grow and prosper. She is the co-developer of the PRICE IT PERFECT™ cost management system for small business, and has secured over 40 million dollars in loans and investment for her clients.

For more information visit Empress of Biz on PPLmag.com

Posted By: Stephanie Curtice
Good News and Cultural Reporter
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Roving Pittsburgher Report - Magical Inspiration: Review of the PSO’s Bolero and the Sorcerer’s Apprentice March 14th 2014 Performance

Magical Inspiration
Review of the PSO’s Bolero and the Sorcerer’s Apprentice March 14th 2014 Performance
From: Roving Pittsburgher Report and PositivePittsburghLiveMagazine.com
Written By: Josh Kurnot  |  March 15, 2014

Walking down the aisle to row k, right in the middle of the orchestra, I notice the grand piano on the forefront of the stage. I wonder what celebrity the orchestra would entertain on their stage that night. Little did I know, some of the world’s most powerful fingers were waiting just off stage left. I cannot place the feeling at first while taking my seat, but there is a kind of quiet anticipation lingering in the theater. My only precedence to this performance is the childhood memory of the Disney movie Fantasia. In my ignorant bliss, I sit with my date grinning from ear to ear waiting to reminisce on fond innocent memories from my younger years, but little did I know…

With due respect, the audience graciously welcomes Maestro Leonard Slatkin to the stage. Prodigy to his parents, the founders of the famed Hollywood String Quartet, Slatkin was born to conduct this very show. The show opened with French composer Paul Dukas’ The Sorcerer’s Apprentice. This is the familiar tune from Disney’s movie Fantasia, and its sounds coming from the Pittsburgh Symphony Orchestra’s stage are just as whimsical and magical as I remember it as a kid. The simplest theme of the entire show was perfectly and playfully portrayed in this first piece, repetition. The Lucian tale of a sorcerer and his apprentice tell the story of how an apprentice’s eavesdropping on the master’s incantation to turn a common household broom into a drone for filling the water basin from the well leads the novice to an almost certain demise. The repetition in the orchestra starts low and mysterious as the sorcerer’s stern words work in private. It then grows in volume and multiplies seemingly uncontrollably as the apprentice attempts to stop the drone from overflowing the water basin by chopping it in half; only creating yet another. The magnitude of the impending doom on the apprentice is magnificently displayed by the alternating unison of the violin section’s two explicit parts. While the bows of one violin part are thrust into the air, the bows of the other part are pulled swiftly back down the opposite direction creating a magnificent but furious dancing effect atop the heads of the entire violin section. Towards the end of the piece, this effect is sustained for so long that I think it would last forever, leaving no refuge for the poor apprentice. Although I don’t particularly care for all of the antics of Mr. First Violinist, I found quite a bit of entertainment in the fly away hairs of his bow flailing frantically about during this ferocious first piece. And at the end of it, Mr. First Violinist proudly grasped those few retired hairs from his bow and most triumphantly ripped them right out of their roots.

Michel Camilo
Photo courtesy: Pittsburgh Symphony Orchestra

The next appearance on stage is Michel Camilo. The audience welcomes him with kindly as he takes his seat on the front of the stage at the keys of the grand piano. As Camilo’s fingers began to strike the first few notes of his Concerto No. 2 for Piano and Orchestra, “Tenerife”, his Latin heritage and Jazzy style are instantly apparent. Camilo’s inspiration for this piece is Tenerife, the largest of the Canary Islands. In his own words, “My intention was to compose about its great majesty, reflect on the warmth of its people, and portray the vibrant light so full of contrasting texture and color I have always perceived there.” The first movement is inspired by a visit to the island’s volcano and does an excellent job of personifying this wondrous place giving it absolute strength, a mind of its own, and a heart beat. Matching the strength of this volcano is Camilo’s left hand pounding away at the repetitious rhythm that is the heart beat of this beautiful place. The community and warmth of the island’s people is found in the echoing rhythms of the symphony orchestra. As the power of the volcano has a rhythm, so do the people who live who live in its shadow. This appearance marks the debut of Michel Camilo’s performance with the Pittsburgh Symphony Orchestra. At the end of the first act finishing the third movement of “Tenerife” the crowd exploded with applause and cheers, especially from the balcony. So long did we applaud and cheer, not accepting no for an answer, that Camilo had to feel obligated to end his performance with a little extra personal flair. Not only did he flair, but his fingers fumed as Slatkin, the Symphony Orchestra, and entire crowd listened in awe.

Additional Performances:
Saturday, March 15th | 8 PM | Heinz Hall
Sunday, March 16th | 2:30 PM | Heinz Hall

Written By: Josh Kurnot
 Josh Kurnot is a student of engineering at West Virginia University in his senior year. He loves to visit relatives in Pittsburgh and attends as many cultural events as he can. He is an award winning photographer whose photograpy was featured on PositivelyPittsburghTV in a video, Roving Pittsburgher and Mountaineer Cheerleader, Josh Kurnot Tour the Strip.

Posted By: Stephanie Curtice
Good News and Cultural Reporter
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(c) PositivelyPittsburghLiveMagazine.com 2014

Roving Pittsburgher Report - "Once" Not Enough, Must See Again! Review of Once the Musical March 11th 2014 Performance

"Once" Not Enough, Must See Again!
Review of the Once the Musical’s March 11th 2014 Performance
From:  Roving Pittsburgher Report and PositivePittsburghLiveMagazine.com
Written By:  Stephanie Curtice  |  March 12th 2014

From the get-go, Once the Musical had the audience of the Benedum Center captivated and it remained that way the entire performance. Lacking jazz hands, kicklines, hammy acting and spontaneous group song and dance numbers, Once the Musical felt more like an episode of tv sit-com How I Met your Mother peppered with organic radio-worthy music that was somewhere between the style of the Lumineers and Lady Antebellum. It was awesome. I loved it. And you should totally go see it!

Apparently the show is based off of the 2006 movie also called Once, which didn’t fair so well at silver screen box offices. Obviously I didn’t see it. But I’m telling you the musical is terrific. It is a romantic comedy and romantic tragedy in one. Fresh and set present day;  Witty and tender;  If you’ve ever loved, been heartbroken, felt loss, or felt giddy anticipation, you’ll see yourself in the story and music of Once the Musical. Laughter and tears included.

The very organic and intimate feel of the entire production is initiated 15 minutes before the show begins when audience members can join the cast on stage of the Dublin pub set for drinks and music. As audience members are privately asked to take their seats, the cast continues to play another couple of songs and seamlessly transition into the show. The house lights finally go down a solid 10 minutes into the show as the unnamed Czech Girl enters the pub after hearing the moving voice and guitar playing of unnamed Irish Boy.

The typical romantic story unfolds. Stricken by woes of the heart, Boy swears off playing music; classically trained pianist, Girl has Boy fix her Hoover vacuum, Girl helps Boy piece his life back together; annoyed humoring begets a tentative friendship; friendship begets romantic hopes; but there’s always something that complicates things… life, commitment, bad timing. I won’t give away the ending, but will say true love is powerful.  Equally relatable themes are the importance of family and community:  small family business, loss of a parent, the new life as a widow, struggling to advance professionally.

The content of the show was touching, but how it was delivered was unique as well.  Every character plays an instrument.  Not only are they the cast, but the orchestra too.  And to prove it the pub set is lined with framed mirrors, which showcased the piano playing skills of Girl and brought a dimension to the set that pulled you in more.  To create different scenes great lighting was used and encouraged the imagination of the audience, including when they were on top of the set looking out into the ocean.

The whole experience was a fresh take on "going to a Broadway musical" and it was great.  I loved it so much I came home and downloaded the music on itunes and looked up when the show would be in the cities of my parents and siblings and told them that they had to go.  So I'll say to you too, take a break from kicklines and showtunes, not that I don't love me some traditional musicals, this is a show that you don't want to miss!

Additional Performances at the Benedum Center:
Wednesday, March 12th  |  7:30 PM
Thursday, March 13th  |  7:30 PM
Friday, March 14th  |  8 PM
Saturday, March 15th  |  2 PM and 8 PM
Sunday, March 16th  |  1 PM and 6:30 PM

By: Stephanie Curtice

Good News and Cultural Reporter
PositivelyPittsburghLiveMagazine.com
RovingPittsburgher.blogspot.com
TheNewGirlintheBurgh.blogspot.com
(c) PositivelyPittsburghLiveMagazine.com 2014

Roving Pittsburgher Report - PSO's Joshua Bell and Symphonie Espagnole Performance Feb. 28th 2014

Witnessing Unmatched Musicality
Review of the Pittsburgh Symphony Orchestra's
Joshua Bell and Symphonie Espagnole Performance Feb. 28th 2014
From:  Roving Pittsburgher Report and PositivePittsburghLiveMagazine.com
Written By:  Hank Walshak  |  March 1, 2014

Gianandrea Noseda

(photo credit: Sussie Ahlburg 2012)

Something in me likes to watch professionals, whatever their line of work. This personal bent served me well when I witnessed Joshua Bell display his violin artistry and Maestro Gianandrea Noseda masterfully lead our Pittsburgh Symphony Orchestra in the Symphonie Espagnole for Violin and Orchestra, Opus 21 of Edouard Lalo.

For me, watching Joshua Bell is like viewing a professional tight-rope walker quickly skip along a 60-foot rope hundreds of feet in the air, and doing somersaults on the rope at the same time. This kind of doing the seemingly impossible happens only a few times in one’s life, and Bell’s execution was one of these rare times in my life.

To say, he performed the violin solo, would be to vastly understate his performance. He played through the Symphonie Espagnole as though the notes, the phrasing, the melodies, the movements emerged from somewhere within him, not from Lalo’s score. He played as though born into the music, moving forward to punctuate hard-hitting parts, moving back to elicit the more subdued sections of the piece.

Joshua Bell

(photo courtesy:

Lisa Marie Mazzucco)

Talk about violin prowess. From exploring sonorous tones in the lower register to parts that called on his lyricism and flexibilities to those that challenged with incredibly intricate fingerings in the upper register, Bell moved through the Symphonie Espagnole for Violin and Orchestra with the unerring grace of a male, ballet dancer interpreting the most physical demanding dances without even breaking a sweat.

A brief look, eye to eye now and then, was all Bell and Maestro Noseda as they worked in synchronistic togetherness during the performance. Just as Bell’s body moved in resonance to each symphony part, so too. Noseda physically conveyed his musical intentions to the orchestra by his deft, dance-like movements. He attacked the piece with all the agility he could muster and moved slowly from side to side to convey more lyrical intonations to the orchestra.

Watching Bell and Maestro Noseda was like seeing two, Olympic athletes move in unison as they performed feats of precision one could hardly believe. They complemented each other so nicely without ever once stealing the sunshine away from the other’s performance.

How fortunate for us in the audience to experience these two musical geniuses performing together in a not-to-be-matched rendering of Eduouard Lalo’s Symphonie Espagnole for Violin and Orchestra.

Additional Performances:
Saturday, March 1st  |  8 PM  |  Heinz Hall

Sunday, March 2nd  |  2:30 PM  |  Heinz Hall

Written By: Hank Walshak
Founder and President of Walshak Communications, Inc.

The Communications Expert for Experts
www.hankwalshak.com
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Posted By: Stephanie Curtice
Good News and Cultural Reporter
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(c) PositivelyPittsburghLiveMagazine.com 2014

Roving Pittsburgher Report - A Review of Gershwins' Porgy and Bess, Feb 26th 2014 Performance

Porgy and Bess, an American Operetta
A Review of Gershwins’ Porgy and Bess, Feb. 26th 2014 Performance
From:  Roving Pittsburgher Report and PositivePittsburghLiveMagazine.com
Written By:  Joanne Quinn-Smith  |  Feb. 27th 2014

Some would like to call Porgy and Bess a Folk Opera, I prefer the work operetta. Even though there was serious content about a close knit group in Charleston's fabled Catfish Row, there still was light hearted banter at times and light footed music also. It might also be called a folk opera because of the cultural and political milieu when the residents of Catfish Row refer to the sheriff as "Boss."

Alicia Hall Moran as Bess
Nathaniel Stampley as Porgy
(photo courtesy: Michael J. Lutch) 

“The Gershwin's Porgy and Bess” was first on the stage in 1935. Now the Tony award winning musical graces the Benedum Stage from February 25 thru March 2, 2014.

A musical playwright and composer can of course never go wrong opening any production with “Summertime,” one of the most recorded songs of all time.

Accompanied by a lush 23-piece orchestra, this re-envisioned Broadway production includes such legendary songs as “Summertime,” “It Ain’t Necessarily So,” and “I Got Plenty of Nothing.”

The Gershwins' Porgy and Bess is set in Charleston’s fabled Catfish Row, where the beautiful Bess struggles to break free from her scandalous past, and the only one who can rescue her is the courageous Porgy. Porgy and Bess's relationship is threatened by her volatile lunk of a lover, Crown, and the seductive narcotic enticements of the dandy vice purveyor Sporting Life. The role of Sporting Life was originally developed by Sammy Davis Jr. but Kingsley Leggs and the ensemble reproduce a movie moment with “It Ain't Necessarily So."

Porgy and Bess’ unconventional romance triumphs as one of theater’s most exhilarating love stories.

Kingsley Leggs as Sporting Life
(photo courtesy: Michael J. Lutch)

The power couple in the musical are young parents Jake and Clara, played with warmth and strength by Pittsburgh native David Hughey and Ms Ali. Jake is a fisherman and captain of the Sea Gull. He is willing to brave any danger to provide for his wife Clara. Jake believes with hard work, he can help his son go to college, but he's also part of a testosterone-fueled culture where men are judged by their muscle, and gambling and drinking are expected among peers. He leads the ensemble in the only half-joking "A Woman Is a Sometime Thing." But it makes no matter what scene he is in David Hughey commands the stage each time in duets and ensembles. His tall muscular frame is almost anachronistic in a musical. But he manages to create exaggerated movements reminiscence of a panther and the audience has a hard time keeping their eyes off his majestic presence. You could certainly see this at the end of the production when he and Sporting Life receive the most applause. Sumayya Ali's version of "Summertime," will haunt you long after you leave the theatre.

When it was introduced on Broadway in 1935, "Porgy and Bess" was a revelation not only for its depiction of a close-knit black enclave in the South, but for its mix of musical genres.

Director Diane Paulus and writer Suzan-Lori Parks have revived the classic folk opera of American theater. With all of its cultural stereotypes, still it brings a powerhouse production to a very receptive 21st Century audience.

Additional Performances at the Benedum Center:

Thursday, Feb 27th  |  7:30 PM
Friday, Feb 28th  |  8 PM
Saturday, Mar 1st  |  2 PM  and  8 PM
Sunday, Mar 2nd  |  1 PM  and  6:30 PM

Written By: Joanne Quinn-Smith
Joanne Quinn-Smith, Award winning internet radio broadcaster, blogger, author and internet radio and TV network editor and publisher. Joanne is the owner and CEO, Creative Energy Officer, of Dreamweaver Marketing Associates, a successful Pittsburgh-based marketing company. She is a grandmother and great grandmother, an unlikely trendsetter for online journalism and broadcasting.

Joanne is internationally known as the “Get Your Google On” Gal, but better known as Techno Granny™ to over one million accumulated online listeners worldwide. Joanne has created a revolutionary online NEW MEDIA platform in Internet broadcasting, blogging and other social media participation that represents the new second generation of World Wide Web interactions, known in technology circles as Web 2.0. JQS is the online publisher of PositivelyPittsburghLiveMagazine.com, an online community magazine to disseminate the Positive News for Positive Pittsburghers. PPL Mag is Pittsburgh’s First Internet radio and TV network with syndicated channels and online radio and TV capabilities.

Posted By: Stephanie Curtice
Good News and Cultural Reporter
PositivelyPittsburghLiveMagazine.com, RovingPittsburgher.blogspot.com, TheNewGirlintheBurgh.blogspot.com
(c) PositivelyPittsburghLiveMagazine.com 2014

Roving Pittsburgher Report - Dance of Heritage Review of Dhirana Feb. 15th 2014 Indian Classical Dance Competition

Dance of Heritage
Review of Dhirana Feb. 15th 2014 Indian Classical Dance Competition
From:  Roving Pittsburgher Report and PositivePittsburghLiveMagazine.com
Written By:  Stephanie Curtice  |  Feb. 16 2014

Stories of the Indian culture and Hindus religion were brought to life Saturday night with lively dancing, bright costumes, and ethnic music. Eight college teams from across the country gathered at Soldiers and Sailors Memorial Hall on the University of Pittsburgh campus for Dhirana 2014, an Indian classical dance competition. The very unique routines included grace like a ballet, transitioning floor work similar to a marching band, dramatic energy akin to Broadway musicals, and multi-level formations that were almost cheerleader-like. The dancing was amazing and unlike anything I have ever seen.

Natya from Rutgers University

Winning 1st place and the Most Traditional Dance Award, Natya from Rutgers University showcased the story of how the Hindu deity Genesha came to have the body of a man and head of an elephant. The way the team created a formation to portray the elephant flapping its ears and trunk was very creative. Second place Pulse from Georgia Tech brought big time intensity of fast moving floor work to the competition with the theme of “Ravana: The Tragic Hero.” Some of the other themes included “Pandora’s Box” by Boston University’s Dheem, “Navarasas (9 Emotions) After the Storm” by Johns Hopkins University’s Shakti, and “Ravanasura’s Fall to Rama” by Penn State’s Natya.

Indian classical dance is very different from Western styles. Compared to ballet, which emphasizes leg action, a still upper body, lightness, high jumps, and pointed toes, Indian dance utilizes very active upper body movement, expressive hand and facial gestures, bent legs, low jumps, flat feet and intricate stamping foot work. Both styles have one very important aspect in common though. They both require masterful control to execute the dances with fluidity and grace.

Moksha from University of Maryland
(3rd Place)

Indian Classical Dance has a rich heritage dating back to 2nd century B.C. and broadly encompasses two main aspects. Nritta, pure dance, is the expression of rhythmic movement primarily through the use of hands and feet mostly in specific poses. Nitrya is more of an interpretative dance which uses gestures and facial expressions to show the poetic or emotional meaning in combination with rhythmic gaits and postures. Specific Indian dance styles showcased in this competition included Bharatanatyam, Kuchipudi, Odissi, Kathak, Kathakali, Mohiniattam, and Manipuri. These styles utilize elaborate prescribed postures of the torso, hands, neck and even eyes. They also involve intensive footwork, acrobatic energy, and very stylized pantomime.

Nrityamala from
University of Pittsburgh

The competition also featured several exhibition acts. The show opened with world renowned Carnatic vocalist Arthi Kumar singing Prayer Song, accompanied by violin and percussion. The host dance team, Nrityamala, performed two classical dance routines including “Pushpanjali.” Two local teams also performed, showcasing more contemporary styles from Western India that are very high energy dances. PantheRass danced in the Garba and Raas styles, which utilized props and acrobatics. And Steel City Bhangra danced in the popular Punjabi folk dance style Bhangra.

The dancing was amazing and unlike anything I had ever seen before, but also impressive were the students who hosted the event. Not only did they plan, produce, and dance at the event, but the hosting Pitt University students also chose to donate the proceeds to Birmingham Free Clinic, the only local free healthcare provider. They also honored the memory of “Vasu” Srinivasa Prasad Gutti, who was not only a local, but worldwide champion of South Asian Performing Arts. Srinivasa Prasad International Fund for the Performing Arts (SPIFPA), the foundation created in tribute to his legacy, was the lead sponsor of Dhirana 2014.

I’d like to say a great big “Thank You!” to Mrs. Cardiology, Sunita Pandit and her husband Dr. Santosh Pandit for not only the invitation to attend this great event, but also sharing their cultural and religious insight throughout the show.

By: Stephanie Curtice

Good News and Cultural Reporter

PositivelyPittsburghLiveMagazine.com

RovingPittsburgher.blogspot.com
TheNewGirlintheBurgh.blogspot.com

(c) PositivelyPittsburghLiveMagazine.com 2014

Roving Pittsburgher Report - Ogre Love Conquers All A Review of Shrek the Musical, Feb. 6th 2014 Performance

Ogre Love Conquers All
A Review of Shrek the Musical, Feb. 6th 2014 Performance
From: Roving Pittsburgher and PositivePittsburghLiveMagazine.com
Written By: Stephanie Curtice | Feb. 07, 2014

We all grew up with those classic fairy tales of damsels in distress saved by a handsome prince, where love triumphs over the wicked, and everyone was perfect, pretty, and happy. Well Shrek the Musical, which opened February 6th at Pittsburgh’s Byham Theater, was a perfect toe-tapping love story just like that – well mostly.

Shrek the Musical
(photo courtesy: Pittsburgh Cultural Trust)

The dashing hero Shrek (Billy Mason) is not quite prince charming, because you know it ain’t easy being green. The shunned ogre was content to live in the quiet of his swamp. That was until it was invaded by misfit fairy tale characters, banished from the kingdom of Duloc by the droll Lord Farquaad (Tim Hartman). The pint-sized ruler offers a challenge for Shrek to regain his stinky swamp. All he needed to do was rescue Farquaad’s bride-to-be from a dragon protected tower.

With the help of his charmingly witty and relentless noble steed, Donkey, Shrek rescues the beautiful maiden Fiona (Emily Lynne Miller) narrowly escaping the pink dragon, a singing diva. At first unimpressed with the efforts of the outcast ogre, Fiona warms up to Shrek and a few commonalities break wind for an unexpected romance. But, Fiona bearing her own curse and is not who she seems. Now in love with Fiona, Shrek tries to break up her wedding to Farquaad. Meanwhile, the renegade fairy tale characters storm the castle in their own revolt against the mini monarch. Happy ever after comes for all as they fly their "Freak Flag" with pride and Fiona's true identity is revealed by power of true love’s kiss.

Shrek the Musical
(photo courtesy: Pittsburgh Cultural Trust)

Now even before the show I was wondering what differences there would be from the movie. Shrek the Musical was adapted from the popular 2001 animated film by DreamWorks and the children’s book by William Steig. It was directed by Colleen Petrucci, with a score by Jeanine Tesori and a book and lyrics by the Pulitzer Prize-winning playwright David Lindsay-Abaire. Like the movie it was laden with numerous pop culture jokes and fairy tale spoofs. But it additionally had spoof references to other musicals like Les Miserables, Gypsy, The Lion King, Wicked, and Chorus Line including one classic style tap dancing number, “I Think I Got You Beat.”

The show featured a Pittsburgh native too. Tim Hartman, who played the vertically challenged Lord Farquaad, hilariously hammed it up for the hometown, all while scooting around on his knees the whole show. Shrek the Musical was full of fun, upbeat music, comical spoofs, witty jokes, a great message of acceptance, and incredible costumes, like Pinocchio’s trademark growing nose. The singing was outstanding and the acting superb. I know its still cold out, but don’t just pop in the DVD. Go out, take the kids to see Shrek the Musical live, you won’t be sorry. The family friendly show is one you and your kids won’t want to miss!

Special shout out to my 7th grade neighbor Ishmael, who joined me at the show.  His favorites were Donkey for the laughs, great singing and accent by Shrek, and special effects like Pinocchio's growing nose.  He gave the show two thumbs up too!

Additional Performances:

Feb 7th and 8th  |   7:30 PM
Feb 9th  |   2:00 PM
Feb 14th and 15th  |   7:30 PM
Feb 16th  |   2:00 PM

By: Stephanie Curtice

Good News and Cultural Reporter

PositivelyPittsburghLiveMagazine.com

RovingPittsburgher.blogspot.com

TheNewGirlintheBurgh.blogspot.com

(c) PositivelyPittsburghLiveMagazine.com 2014

Roving Pittsburgher Report - B 3 = Bach x Beethoven x Brahms A Review of the PSO’s Jan. 31st 2014 Concert

B ³ = Bach x Beethoven x Brahms

A Review of the PSO’s Jan. 31st 2014 Concert

Manfred Honeck
(photo courtesy: PSO)

Though the opening tune was one that is frequently associated with vampires emerging from their caskets or spooky Halloween scenes, it was no scary start to the Grand Classics concert Friday night at Heinz Hall. Led by conductor and music director Manfred Honeck, the Pittsburgh Symphony Orchestra played works of three great composers Bach, Beethoven, and Brahms.

The PSO opened with Bach’s “Toccata and Fugue in D minor” for organ, transcribed for orchestra by Leopold Stokowski. Complete with the bombastic but still eerie beginning, the wall of sound was impressive. But it was the intricacy of crazy quick fugal sequences, originally meant for nimble keyboard hands, that was a true test and showcase of precision.

Helene Grimaud
(photo courtesy: PSO)

Sandwiched between Bach and Brahms was Beethoven, the star of the show. Symphony No.4 in B-flat major, Opus 60 opened with swells of dramatic flare and then quickly contrasting, quiet suspenseful passages. The second movement featured a beautifully played clarinet solo by Michael Rusinek! The piece culminated in an exhilarating dance of flurry which is “classic” Beethoven and fun to hear played so well.

The final piece, Concerto No. 1 in D minor for Piano and Orchestra, Opus 15 by Brahms, featured Ms Helene Grimaud of France. Though it features robust orchestration paired with the piano soloist, Gimaud held her own well and was not washed out by the full sound. She also played the rich and expressive solo passages with great skill and brought out the passion filled melodies beautifully.

The Pittsburgh Symphony Orchestra hit the trifecta with this concert and received a fitting standing ovation from the audience.

Additional Concert Times:
Sunday, February 2nd, 2014 at 2:30 PM

By: Stephanie Curtice
Good News and Cultural Reporter
PositivelyPittsburghLiveMagazine.com
RovingPittsburgher.blogspot.comTheNewGirlintheBurgh.blogspot.com

(c) PositivelyPittsburghLiveMagazine.com 2013

Roving Pittsburgher Report - Hooray for Hollywood… Music! A Review of the PSO’s Jan. 23rd 2014 Pops Concert

Hooray for Hollywood… Music! 

(photo source: PSO)

If ever you were thinking of dabbling your senses into the world of symphonic music, this would be the concert to do it. But don’t just dabble or dip your toes. Jump in! Take the plunge with the Pittsburgh Symphony Orchestra into the chum filled, shark infested waters of Jaws. This movie music experience is a must-see blockbuster.

It’s not locked in a “Chamber of Secrets” (Harry Potter).  The fact that John Williams is a genius at composing dramatic, emotion-rich music for the big screen that whisks us away. His music has transported movie lovers from beautiful secluded islands overrun with dinosaurs, to the Black Hills of Wyoming and eerie close encounters; from galloping through the battle fields of World War I, to magical lands of wizards, sorcerers, and quiddich matches; and from lost treasure troves in the deserts of Egypt to the outer edges of deep space.

You know the music of John Williams. I’m positive you could even sing it. It’s iconic.  Surely you’ve interrupted a game of Marco Polo, with your hand above your head like a shark fin singing that suspenseful two note motive, Da Dum, Da Dum? Or wielded a light saber to “The Imperial March”?

PSO Resident Conductor
Lawrence Loh

So, unless you’ve been living under a rock, you will recognize every piece in this concert. But in case you do need your movie memory jogged, fear not, because Resident Conductor Lawrence Loh is not your run of the mill orchestra conductor - he has clearly put in his popcorn time. He along with the talented members of the PSO bring to life some of the most memorable cinematic moments of the last 30 years with music from War Horse, Harry Potter, Star Wars, and even gears us up for the upcoming Winter Games with that hopeful spirit evoked by the Olympic Fanfare and Theme.

The powerful and moving music of John Williams takes the movie experience to new heights and leaves viewers with lasting memories. Didn’t you ever camp overnight in your backyard, snacking on Reese’s Pieces and gazing at the stars, wondering if you too could someday have your own ET friend that would zoom back into space to ? I have to think that the boyishly cute, thirty something guy in a dapper grey suit a few rows in front of me did. After intermission he brought back a bag of those tasty candies, which were featured in the 1982 movie, to share with his expecting wife.

The music of these movies has left a lasting impression in our hearts and memories. Taking a moment to look around at the audience Thursday night was like watching a groom watch his bride, as she walks down the aisle. Heinz Hall was filled with beaming smiles, the biggest and cutest smile maybe being that of Conductor Loh. This Olympic gold medal worthy concert is one you don’t want to miss. My review is to not miss this family-friendly Pittsburgh Symphony Orchestra Pops concert! It is FUN!!!

Additional Concert Times:
Friday, January 24, 2014 at 8:00 PM
Saturday, January 25, 2014 at 8:00 PM
Sunday, January 26, 2014 at 2:30 PM

By: Stephanie Curtice
Good News Reporter & Contributing Journalist
PositivelyPittsburghLiveMagazine.com
TheNewGirlintheBurgh.blogspot.com
(c) PositivelyPittsburghLiveMagazine.com 2013