CHORUSES PERFORM CONTEMPORARY, CLASSICAL MASTERPIECES

J.W. Arnold

‘SONGS OF THE PHOENIX,’ GAY MEN’S CHORUS OF SOUTH FLORIDA

The Gay Men’s Chorus of South Florida (GMCSF) will present the regional premiere of “Songs of the Phoenix” on March 24 at the Parker in Fort Lauderdale.

The song cycle, co-commissioned with several other gay men’s choruses across the country, was curated by Broadway composer Andrew Lippa and features individual movements created by 10 composers, according to Artistic Director Gabe Salazar.

“Each of the movements is very different in style and yet they fit together beautifully with an uplifting message,” Salazar explained. “It’s so fitting, given the [political] climate in our country and our state. We are rising from the ashes and not going anywhere.”

GMCSF audiences will remember a performance of another major choral work by Lippa, “Unbreakable,” performed last spring during a Pride month concert. And like that work, Salazar said “Phoenix” is a “message piece,” not unlike musical theater.

And yet, Lippa’s broad opening and closing frame more intimate movements featuring soloists and a smaller chamber orchestra than past productions, while offering touching perspectives from diverse voices in the LGBT community.

A full season into his tenure and the disruptions of the pandemic forgotten, Salazar is confident about the future of the 150-voice ensemble, which merged this year with the former Fort Lauderdale Gay Men’s Chorus.

“My approach to any new job is to go in and not rock the boat too quickly,” he said. “I did a lot of listening and observing, and now a year later, they trust me and my vision.”

VERDI’S ‘REQUIEM,’ MASTER CHORALE OF SOUTH FLORIDA

a decade event, according to Brett Karlin, artistic director of the Master Chorale of South Florida.

Karlin’s 120-voice chorus will present the masterwork in three performances, March 30 – April 2 in Fort Lauderdale and Boca Raton.

“The reason that this is a rare performance is because of the sheer scale and size of the performing forces required. The requiem is built for a very large chorus, as well as a large orchestra,” explained Karlin, noting the requirement for four bassoons, four trumpets onstage and four offstage, and four powerful operatic soloists.

While Verdi was not known to be particularly religious, the genesis of the work began following the death of another iconic opera composer, Giaccomo Rossini. Verdi reached out to a group of leading composers to assemble a fitting musical tribute, but was unsuccessful. Later, when a prominent author and novelist died, Rossini took one of the movements he wrote for the earlier project and completed the monumental mass.

“In the 1800s, you would be hard pressed to name a composer who composed a symphony,” added Karlin.

“What was happening in Italy was the composers were writing vocal music. While the [requiem] presents challenges, it was built for singers.”

Karlin, who is celebrating a decade on the Master Chorale podium, had originally planned the work for the 2020-21 season, but it was postponed due to the pandemic.

“That was the virtual season for everyone and we just had to delay because it’s not a piece we’re going to do with masks on,” he added.

Dvořák Masterworks

Featuring GRAMMY Award-winning Cellist Zuill Bailey

Mar. 22 • The Parker, Fort Lauderdale

Mar. 23 • New World Center, Miami

Mar. 25 • Tennessee Williams Theatre at The College of the Florida Keys