Through the combined efforts of the LA Master Chorale, MUSE/IQUE and a generous private grant from local arts philanthropists Terri and Jerry Kohl as well as Bryant, Judi and Debra Danner, a new project called “LA Sings” got its debut at Walt Disney Concert Hall on Sunday night. Though it feels closely related to the “Big Sing” that LAMC has been hosting in the park for several years now, this construct hits different, as the indoor confab is a part of the Chorale’s regular season, boasts the singular space that is Disney Hall, and vibed hard with new arrangements of seasoned pop tunes, a packed house full of wildly enthusiastic student and community choirs, and much dancing in the aisles. If you haven’t been sure of choral concerts before, THIS is an exceptional introduction, serving up not only an exuberant way to sample a diverse range of music, but a combination of professional performance and robust sing-along that was surprisingly effective. For those of us who already love choral music, this may be just the shake-up you need.
The whole evening was permeated with a sense of “all in”, but to say it was inclusive or fun doesn’t approximate the level of jubilation that made it a notable success, the clincher being that this event was anything but hokey. Far from the usual round of Broadway-themed programs that so many choirs trot out each year in an attempt to reach a wider audience, this was a carefully curated program driven by mostly excellent arrangements of pop legends Bob Dylan, the Beatles, Stevie Wonder and more, by members of the MUSE/IQUE ensemble: Robert Schaer, Jamey Tate, Michael Valerio. While there were one or two takes that didn’t quite work with the large crowd trying to sing along, any hitches were so minor that they didn’t diminish the joy or distract from the overall effect. The lineup was fleshed out by a lovely rendition of De Colores led by LAMC member Kristen Toedtman, as well as Unclouded Day by LAMC member and composer Shawn Kirchner, which earned wild applause and showed just with the Chorale can do. Three more classical-leaning pieces were even printed in the program (and clearly prepared by some of the attending choirs), offering a little traditional substance and allowing everyone to experience the singing of Lauridsen, Whitacre and a spiritual arrangement by the wonderful Rollo Dilworth with a huge choral force. As a whole, the event just worked.
The glue that held it all together was the ongoing banter between our two hosts, Rachael Worby and Grant Gershon, who serve as artistic directors for MUSE/IQUE and LA Master Chorale, respectively. These two have known each other for many years and worked together quite a bit, and the bond is as clear as their personalities are different. Where Rachael is unabashed and Grant is a little more reserved, the combination sparkles, creating an infectiously jovial atmosphere that few could resist. They both spoke eloquently about the necessity, especially now, of bringing people together, and the “equalizing and transformative power of music.” (Repeat after us: “LIVE MUSIC IS A BASIC HUMAN RIGHT!”) At one point, Rachael told a story about one of music’s most indelible songs, Stand by Me, working her way into the seats until she grabbed one of the audience members by the arm and made sure that the last remaining creator of that tune, legendary songwriter Michael Stoller, took a bow before we all sang it to him.
The fact that the actual set list differed from the printed program, even skipping a couple of pieces that has been initially planned, seemed to enhance the sense of immediacy and flow, rather than detract from the more orderly experience of most choral concerts. The choir and players rocked out, clearly relishing their role as cheerleaders rather than hallowed artists, and the cohesive energy was tangible. When it was revealed at the end of the concert that it was also Grant’s birthday, the resulting thunder of 2000 people singing “Happy Birthday” was the perfect denouement. (Happy birthday, Grant!)
There are so many things to be said for the power of choral harmony and the euphoria that can be found in singing together. We can talk about the compelling research ad nauseum. (But let’s not.) This event illustrated all of that potency beautifully and made it real for a whole lot of people. While other programs might be deeply meaningful, profound and equally chock full of philosophical punch, this event, entitled “All You Need is Love”, is simply the most fun I’ve had at any concert in a long while, and I forward to joining in again next year.
As Grant advised,