Amy LaVere joins Memphis Symphony Orchestra musicians tonight at Premiere Palace as part of the Opus One series.
Opus One, a novel concept in the world of symphonies, has, in little over a year, become a reliable fixture and and exemplar of the Memphis zeitgeist.
The conductorless group of classical players has been teaming up with some of the region’s top musical talent from other genres, and mixing it up in surprising and refreshing ways.
Thursday night was the first of two performances of Opus One with guest performer Amy LaVere. It was another success for the series that reached maturity quickly and has been savvy enough to make the most of its formula.
The blend at the Premiere Palace Ballroom on Monroe was just about perfect: The first part of the program was Opus One playing old and new works, large and small ensembles, agreeable works that don’t always get a lot of exposure.
The second half was LaVere with her standup bass and alluring voice, accompanied by Tom Lonardo on drums, David Cousar on guitar and Opus One giving her an orchestral backing.
The singer’s blend of charm, insight and tragic love has always gone over well with listeners. But with orchestral arrangements by the remarkable Jonathan Kircksey, those songs took on a profound depth and resonance.
Kircksey’s arrangements find their brilliance because he works closely with the musicians he writes for. He not only gets where they’re coming from, but he also puts his own deft creativity in the works, pulling from various influences but never sounding cliched.
LaVere’s tunes “Damn Love Song” and “Cry My Eyes Out” were electrifying, songs about motion and emotion that found an extraordinary balance.
The unusual venue — another hallmark for Opus One performances — was a pleasingly funky choice. Beer bottles dropping in the middle of Arcangelo Corelli’s Trio Sonata No. 2 was about as natural an event as could be. And you could look out the window and see C&C Towing across the street even as Scott Best and Christopher Butler played witty and sly pieces by David Anderson (one amusingly titled “Parade of the Politically Prudent Pigs“).
It’s all intended to be a way to present informally some fine music. But if the informality is welcome, there also has to be some respect for players and audience. The yak factor was way too high — if you really want to hold conversations in the middle of the music, give Opus One your $25 and then go out on the street.
Opus One: Bass Instincts with Amy LaVere
7:30 p.m. tonight at Premiere Palace, 629 Monroe. Tickets: $25. For more information, call 537-2525, or see opusonememphis.com.
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Comments » 1
memphishasstyle writes:
I totally agree about how amazing, funky, and remarkable this concert was. I disagree on the chatter. I find that it creates part of the informal atmosphere. As an Opus One patron who does not go to the standard symphony concerts, I find this as a great alternative. The informality breaks down social barriers and makes for more of a comfort level to first timers and a younger crowd who may feel unfamiliar and uncomfortable in a symphony hall. The chatter adds to a level of comfort for the younger set who do not fully understand the pieces of the symphony. I feel that part of the draw is to listen and talk with friends about the music. There were so many people last night who had a great time and enjoyed the concert who had never been to a symphony concert. They might not know the "rules." But there should be no rules with Opus One- should there? Talk, sit silently, or even dance but we were all listening. If you want to sit quietly then go to the hall. May I add that when Amy got on stage she put everyone under her magic spell and the chatter abruptly stopped. Her talent along with the symphony's was something to make the Memphis Music scene proud.
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